{"id":718,"date":"2026-01-29T19:41:07","date_gmt":"2026-01-29T18:41:07","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=718"},"modified":"2026-02-13T18:12:18","modified_gmt":"2026-02-13T17:12:18","slug":"cinescriptographe-de-bahia","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/","title":{"rendered":"Cin\u00e9scriptographe de Bahia"},"content":{"rendered":"\n

Cin\u00e9scriptographe \u2014 Bahia<\/strong><\/h2>\n\n\n\n

(crash du vol Y\u00e9m\u00e9nia IY 626)<\/em><\/p>\n\n\n\n

Aper\u00e7us cin\u00e9scriptographiques (phrases-sources)<\/h4>\n\n\n\n

(Ao\u00fbt 2008 \u2013 Juin 2009)<\/em><\/p>\n\n\n\n

\u2014 Po\u00eame envoy\u00e9 dans les commentaires \u00e0 l\u2019\u00e9mission All\u00f4 la plan\u00e8te<\/em>, le 12 Ao\u00fbt 2008 :<\/p>\n\n\n\n


{Noeuds de Vous en na\u00eetre}
[D'en \u00eatre \u00e0 vous deux tous (ou\u00efes)]

-On ne dit que ce que l'on est ?
-Ce qui na\u00eet de nous pour dire qu'on est ?
-Que l'on est quand il na\u00eet cri ?
    \u00e9crire qu'on est l\u00e0 ?


-on na\u00eet cri si l'on en est ?
-l'\u00e9crit-on pour que langue l'ait ?
    comment \u00e9crire d'o\u00f9 l'on est ?


on na\u00eet co\u00fbte que co\u00fbte.

un cas, as take.<\/pre>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Narration d\u2019un r\u00eave, envoy\u00e9 \u00e0 l\u2019\u00e9mission Parking de nuit<\/em>, le 24 Ao\u00fbt 2008 :<\/p>\n\n\n\n
\n
\u2003\u2003La porte sonna.<\/p>\n\n\n\n

\u2003\u2003Il s’\u00e9leva, s’\u00e9lan\u00e7ant du corps vitreux, jusqu’au seuil de son appartement.<\/p>\n\n\n\n

\u2003\u2003R\u00eave : L\u00e0, une femme, peut-\u00eatre une \u00e9thiopienne, \u00e9tait fix\u00e9 le cou droit, dress\u00e9e d’un linceul blanc opaque et de dentelle brod\u00e9e, dignement, lui proposait, de la main droite de m\u00e9diter sur son paillasson marron-clair qu’elle avait arrach\u00e9 du sol, et en le lui pr\u00e9sentant, lui enseigna, avec un manche d’aspirateur noir qu’elle tenait dans sa main gauche, en un mouvement de va-et-vient du bas en haut et de haut en bas, comment tous les deux longs fils blancs qui pendouillaient, pr\u00e8s du bord au milieu, pouvaient s’en tendre en lyre \u00e0 la verticale, gr\u00e2ce \u00e0 l’inspiration.<\/p>\n\n\n\n

\u2003\u2003En ceci qu’il \u00e9tait dans du coton, cette eau de raison l’encensait de la balan\u00e7oire, dans son enstase.<\/p>\n\n\n\n

\u2003\u2003Il en voyait un bon pr\u00e9sage, des hippocampes et coquillages multicolores, un instant encore.<\/p>\n<\/blockquote>\n\n\n\n
\u2014 Recherche internet factuelle, fin Ao\u00fbt 2008 :<\/p>\n\n\n\n
Je recherche une image du visage ressemblant \u00e0 cette femme dont j\u2019avais r\u00eav\u00e9 par les mots cl\u00e9s : vierge noire.<\/p>\n\n\n
\n
\"\"
Son visage ressemblait \u00e0 celui de la Vierge de Cz\u0119stochowa , mais sans le m\u00eame \u2018odos\u2019 ni la m\u00eame \u2018Riza\u2019 (robe).<\/figcaption><\/figure>\n<\/div>\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Citation performative (sur un r\u00e9pondeur courant octobre 2008) :<\/p>\n\n\n\n
\n
Lecture de quelques passages de Voir la lumi\u00e8re, Pour une m\u00e9taphysique du cin\u00e9ma<\/em>, de James Broughton, finalis\u00e9 par cette phrase :<\/p>\n\n\n\n
\u2014 \u00ab Puisqu\u2019un miracle n\u2019arrive jamais seul\u2026 \u00bb<\/p>\n<\/blockquote>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Narration imaginaire, 18 juin 2009 :<\/p>\n\n\n\n
\n
Le groom nous servit, d\u2019une serviette en plus pour nous essuyer des derni\u00e8res \u00e9claboussures des gicleurs que l\u2019alarme incendie avait certainement mise en branle \u00e0 la suite d\u2019un \u00e9v\u00e8nement qui devait nous d\u00e9passer, autant qu\u2019une roue manie des engrenages.<\/p>\n\n\n\n
Les s\u00e8che-cheveux et autres souffleurs de vents ti\u00e8des ne se firent pas tarder de donner la r\u00e9plique.<\/p>\n\n\n\n
Une fois rentr\u00e9e dans l\u2019ordre, le jour se levait.<\/p>\n<\/blockquote>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Journal, narration imaginaire, du 26 juin 2009 :<\/p>\n\n\n\n
\n
\u2014 \u00ab 26\/06\/09 \u2014 01h32<\/p>\n\n\n\n
Nous prions toujours l\u2019oc\u00e9an avant d\u2019y p\u00e9n\u00e9trer.<\/p>\n\n\n\n
\u00c7a commence bien. \u00bb<\/p>\n<\/blockquote>\n\n\n\n
\u2014 Intensification :<\/strong><\/p>\n\n\n\n
\n
\u2014 \u00ab Euh\u2026, \u00e7a commence bien ! \u00bb<\/p>\n<\/blockquote>\n\n\n\n
Propos radiophonique tenu d\u2019abord avec une h\u00e9sitation puis de fa\u00e7on pr\u00e9cipit\u00e9e \u00e0 la toute fin d\u2019un journal d\u2019informations, faisant \u00e9cho, \u00e0 deux ou trois secondes pr\u00e8s, \u00e0 la cl\u00f4ture de mon propre texte.<\/p>\n\n\n\n
\u00c9v\u00e8nement ult\u00e9rieur (m\u00e9moire r\u00e9v\u00e9latrice)<\/h4>\n\n\n\n
Crash du vol Y\u00e9m\u00e9nia IY626 le 29\/06\/2009 vers 22h50, le 30 juin 2009 heure locale vers 01H50, dans l\u2019Oc\u00e9an Indien, au large des Comores avec 153 passagers \u00e0 bord. Le vol partit de Roissy fit escale \u00e0 Marseille, puis Sanaa au Y\u00e9men pour Moroni.<\/p>\n\n\n\n
La seule rescap\u00e9e de ce vol est une jeune fille de Marseille \u00e2g\u00e9e de douze ans qui a d\u00e9riv\u00e9 pendant 13 heures et qui se pr\u00e9nomme Bahia Bakari.<\/p>\n\n\n\n
Lecture cin\u00e9scriptographique (a posteriori)<\/h4>\n\n\n\n
Ce Cin\u00e9scriptographe de Bahia<\/em> se compose d\u2019aper\u00e7us dat\u00e9s, h\u00e9t\u00e9rog\u00e8nes, produits entre ao\u00fbt 2008 et juin 2009.
Il ne suit pas une narration continue, mais un r\u00e9gime de d\u00e9p\u00f4ts : po\u00e8me, r\u00eave, recherche, citation, fragments narratifs et journal. L\u2019ensemble ne construit pas un r\u00e9cit, mais un champ de tensions o\u00f9 se croisent naissance, souffle, voix, eau et passage.<\/p>\n\n\n\n
Le po\u00e8me inaugural installe imm\u00e9diatement ce r\u00e9gime. Tout y proc\u00e8de du na\u00eetre<\/em> : na\u00eetre cri, na\u00eetre langue, na\u00eetre dire. Les questions ne cherchent pas \u00e0 \u00eatre r\u00e9solues ; elles maintiennent le texte dans un \u00e9tat d\u2019instabilit\u00e9 active, entre \u00eatre et dire, entre pr\u00e9sence et inscription. L\u2019\u00e9criture ne d\u00e9crit pas une origine : elle tente de s\u2019y tenir. La formule finale \u2014 \u00ab un cas, as take. \u00bb<\/em> \u2014 ne cl\u00f4t pas, elle acte : un cas singulier, une prise, une capture minimale du r\u00e9el par la langue.<\/p>\n\n\n\n
Le r\u00eave du 24 ao\u00fbt 2008 introduit une figure centrale, verticale et digne. Une femme debout, hi\u00e9ratique, associ\u00e9e \u00e0 la respiration, au rythme et \u00e0 l\u2019\u00e9l\u00e9vation. Les gestes sont r\u00e9p\u00e9titifs, lents, orient\u00e9s par le souffle : va-et-vient, haut et bas, inspiration. Les fils tendus \u00ab en lyre \u00bb inscrivent la sc\u00e8ne dans un imaginaire \u00e0 la fois corporel et musical. Le r\u00eave ne pr\u00e9sente ni menace ni annonce. Il propose une posture : tenir debout dans le souffle.<\/p>\n\n\n\n
La recherche ult\u00e9rieure d\u2019une image \u2014 celle de la vierge noire<\/em> \u2014 ne vient pas confirmer le r\u00eave, mais en prolonger l\u2019\u00e9cart. La ressemblance est partielle, jamais identitaire. Le texte insiste sur ce d\u00e9calage : m\u00eame visage, mais pas les m\u00eames attributs. Ce qui est reconnu n\u2019est jamais appropri\u00e9.<\/p>\n\n\n\n
La r\u00e9f\u00e9rence \u00e0 Voir la lumi\u00e8re. Pour une m\u00e9taphysique du cin\u00e9ma<\/em> de James Broughton inscrit le texte dans un champ de r\u00e9flexion sur le regard, la perception et l\u2019exp\u00e9rience sensible.
La lecture n\u2019est pas cit\u00e9e pour son contenu, mais pour le r\u00e9gime qu\u2019elle ouvre : celui d\u2019un rapport au monde fond\u00e9 sur l\u2019attention et la travers\u00e9e.
La phrase finale \u2014 \u00ab Puisqu\u2019un miracle n\u2019arrive jamais seul\u2026 \u00bb<\/em> \u2014 ne provient pas de l\u2019ouvrage. Elle est ajout\u00e9e \u00e0 l\u2019issue de la lecture, comme un geste performatif personnel, qui ne promet rien mais d\u00e9place l\u00e9g\u00e8rement l\u2019\u00e9tat du texte.<\/p>\n\n\n\n
Les narrations de juin 2009 d\u00e9placent le registre vers des situations plus quotidiennes, mais travers\u00e9es par les m\u00eames motifs. L\u2019eau, le souffle, le d\u00e9r\u00e8glement, puis le retour \u00e0 l\u2019ordre. Le groom, les gicleurs, les s\u00e8che-cheveux : autant de figures techniques du flux, de l\u2019air et de la circulation. Rien n\u2019est expliqu\u00e9. Le jour se l\u00e8ve apr\u00e8s coup.<\/p>\n\n\n\n
Le journal du 26 juin 2009 resserre encore le dispositif. Une date, une heure. Deux phrases seulement.
\u00ab Nous prions toujours l\u2019oc\u00e9an avant d\u2019y p\u00e9n\u00e9trer. \u00bb<\/em>
Cette phrase ne rel\u00e8ve ni d\u2019un rite religieux ni d\u2019un symbole. Elle marque une attitude : celle du respect face \u00e0 un espace qui d\u00e9passe.
\u00ab \u00c7a commence bien. \u00bb<\/em>
Formule ambivalente, \u00e0 la fois banale et charg\u00e9e, qui suspend le sens au moment m\u00eame o\u00f9 elle semble l\u2019ouvrir.<\/p>\n\n\n\n
L\u2019intensification radiophonique fonctionne comme un \u00e9cho temporel. Une phrase prononc\u00e9e ailleurs, presque simultan\u00e9ment, vient redoubler le texte sans le commenter. Ce n\u2019est pas une confirmation, mais une co\u00efncidence de surface, un frottement entre \u00e9criture intime et flux m\u00e9diatique.<\/p>\n\n\n\n
L\u2019\u00e9v\u00e9nement ult\u00e9rieur \u2014 le crash du vol Y\u00e9m\u00e9nia IY626 \u2014 intervient apr\u00e8s coup. Il ne donne pas de cl\u00e9, ne r\u00e9v\u00e8le aucun sens cach\u00e9. Il fixe r\u00e9troactivement une constellation d\u00e9j\u00e0 active : l\u2019oc\u00e9an, la travers\u00e9e, le souffle, la survie. Le nom de Bahia Bakari introduit un point de fixation humain, concret, \u00e0 ce qui, jusque-l\u00e0, circulait sous forme de gestes, de phrases et d\u2019images.<\/p>\n\n\n\n
Ce cin\u00e9scriptographe ne fonctionne ni comme pr\u00e9monition ni comme interpr\u00e9tation du r\u00e9el. Il rend lisible, apr\u00e8s coup, un champ de r\u00e9sonances entre voix, eau, respiration et passage. Ce qui s\u2019y d\u00e9pose n\u2019annonce rien. Cela se tient.<\/p>\n\n\n\n
Note<\/h5>\n\n\n\n
Ce cin\u00e9scriptographe rassemble des po\u00e8mes, des r\u00eaves, des notations personnelles, des recherches iconographiques et des fragments narratifs consign\u00e9s entre ao\u00fbt 2008 et juin 2009, puis relus a posteriori \u00e0 la lumi\u00e8re du crash du vol Y\u00e9m\u00e9nia IY626.<\/p>\n\n\n\n
Il n\u2019\u00e9tablit aucun lien causal, pr\u00e9dictif ou intentionnel entre ces \u00e9l\u00e9ments et l\u2019\u00e9v\u00e9nement tragique survenu ult\u00e9rieurement.
Les aper\u00e7us sont pr\u00e9sent\u00e9s comme des traces situ\u00e9es, les narrations comme des constructions imaginaires explicitement d\u00e9sign\u00e9es, et la m\u00e9moire r\u00e9v\u00e9latrice comme un point de fixation r\u00e9trospectif.<\/p>\n\n\n\n
Cette relecture met en \u00e9vidence une circulation de motifs \u2014 naissance, souffle, eau, travers\u00e9e, corps en mouvement \u2014 sans en proposer d\u2019interpr\u00e9tation symbolique ou explicative.<\/p>\n\n\n\n
Ce travail ne vise ni \u00e0 interpr\u00e9ter ni \u00e0 instrumentaliser les \u00e9v\u00e9nements tragiques \u00e9voqu\u00e9s.
Il est \u00e9crit dans le respect des personnes disparues et de leurs proches.<\/p>\n\n\n\n
\u2190 Revenir<\/a>\u2009\u00b7\u2009\u21ba Sommaire<\/a>\u2009\u00b7\u2009\u2192 Continuer<\/a><\/p>\n\n\n\n
\n\n\n\n
Cinescriptograph \u2014 Bahia<\/strong><\/h3>\n\n\n\n
(crash of Yemenia Flight IY 626)<\/em><\/p>\n\n\n\n
Cinescriptographic Glimpses (source phrases)<\/strong><\/h4>\n\n\n\n
(August 2008 \u2013 June 2009)<\/em><\/p>\n\n\n\n
\u2014 Poem sent in the comments section of the radio program All\u00f4 la plan\u00e8te<\/em>, August 12, 2008:<\/p>\n\n\n\n
{Knots of Being-Born into You}
[Of being from you two, all (ears)]

\u2014 Do we only say what we are?
\u2014 What is born from us in order to say that we are?
\u2014 Are we when what is born is a cry?
\u2003\u2003to write that we are here?

\u2014 Are we born cry if we are of it?
\u2014 Is it written so that language may have it?
\u2003\u2003how to write from where one is?

we are born, at all costs.

a case, as take.<\/pre>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Dream narration, sent to the program Parking de nuit<\/em>, August 24, 2008:<\/p>\n\n\n\n
\n
The door rang.
\u2003It rose up, springing from the glassy body, toward the threshold of the apartment.<\/p>\n\n\n\n
\u2003\u2003Dream: There, a woman, perhaps Ethiopian, stood with her neck set straight, upright in an opaque white shroud and embroidered lace, dignified. With her right hand she invited him to meditate on her light-brown doormat she had torn from the ground, and, presenting it to him, she taught him\u2014using a black vacuum-cleaner handle held in her left hand\u2014through a back-and-forth movement, from bottom to top and top to bottom, how the two long white threads dangling near the middle edge could be drawn taut into a vertical lyre, through inhalation.<\/p>\n\n\n\n
\u2003In this, as he was wrapped in cotton, this water of reason incense-swayed him, in his enstasis.
\u2003He saw in it a good omen, seahorses and multicolored shells, for one more moment.<\/p>\n<\/blockquote>\n\n\n\n
\u2014 Factual internet search, late August 2008:<\/p>\n\n\n\n
I search for an image of a face resembling the woman from the dream, using the keywords: black virgin<\/em>. (See image above)<\/p>\n\n\n\n
Her face resembled that of the Virgin of Czestochowa, but without the same odos<\/em> nor the same riza<\/em> (robe).<\/p>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Performative citation (on an answering machine, October 2008):<\/p>\n\n\n\n
\n
Reading of several passages from Seeing the Light. Toward a Metaphysics of Cinema<\/em> by James Broughton, concluded with the phrase:
\u2014 \u201cSince a miracle never comes alone\u2026\u201d<\/p>\n<\/blockquote>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Imaginary narration, June 18, 2009:<\/p>\n\n\n\n
\n
The bellhop brought us a towel, an extra one, to dry the last splashes from the sprinklers that the fire alarm had certainly set off following an event that was bound to exceed us, as a wheel drives its gears.<\/p>\n\n\n\n
Hair dryers and other warm air blowers were not long in responding.<\/p>\n\n\n\n
Once order was restored, daylight was breaking.<\/p>\n<\/blockquote>\n\n\n\n
\u00b7<\/p>\n\n\n\n
\u2014 Journal, imaginary narration, June 26, 2009:<\/p>\n\n\n\n
\n
\u2014 \u201c<\/em>06\/26\/09 \u2014 01:32<\/p>\n\n\n\n
We always pray to the ocean before entering it.<\/p>\n\n\n\n
This is starting well.\u201d<\/p>\n<\/blockquote>\n\n\n\n
\u2014 Intensification :<\/strong><\/p>\n\n\n\n
\n
\u2014 \u201cUh\u2026, this is starting well!\u201d<\/p>\n<\/blockquote>\n\n\n\n
Radio remarks made first hesitantly and then hastily at the very end of a news broadcast, echoing, within two or three seconds, the closing of my own text.<\/p>\n\n\n\n
Subsequent Event (Revelatory Memory)<\/strong><\/h4>\n\n\n\n
Crash of Yemenia Flight IY626 on June 29, 2009 around 22:50, June 30, 2009 local time around 01:50, in the Indian Ocean, off the coast of the Comoros, with 153 passengers on board.
The flight departed from Roissy, stopped in Marseille, then Sana\u2019a in Yemen, bound for Moroni.
The sole survivor was a twelve-year-old girl from Marseille who drifted for thirteen hours. Her name is Bahia Bakari.<\/p>\n\n\n\n
Cinescriptographic Reading (a posteriori)<\/strong><\/h4>\n\n\n\n
This Cinescriptograph of Bahia<\/em> is composed of dated, heterogeneous glimpses produced between August 2008 and June 2009.
It does not follow a continuous narrative, but a regime of deposits: poem, dream, research, citation, narrative fragments, and journal. The whole does not construct a story, but a field of tensions where birth, breath, voice, water, and passage intersect.<\/p>\n\n\n\n
The inaugural poem immediately establishes this regime. Everything proceeds from being-born: being-born as cry, being-born as language, being-born as utterance. The questions are not meant to be resolved; they keep the text in a state of active instability, between being and saying, between presence and inscription. Writing does not describe an origin: it attempts to remain within it. The final formula \u2014 \u201ca case, as take.\u201d<\/em> \u2014 does not conclude; it enacts: a singular case, a taking, a minimal capture of reality by language.<\/p>\n\n\n\n
The dream of August 24, 2008 introduces a central figure, vertical and dignified. A woman standing, hieratic, associated with breathing, rhythm, and elevation. The gestures are repetitive, slow, oriented by breath: back and forth, up and down, inhalation. The threads stretched \u201clike a lyre\u201d inscribe the scene in an imaginary that is both corporeal and musical. The dream presents neither threat nor announcement. It proposes a posture: standing upright in breath.<\/p>\n\n\n\n
The subsequent search for an image \u2014 that of the black virgin \u2014 does not confirm the dream, but extends its gap. The resemblance is partial, never identitary. The text insists on this displacement: same face, different attributes. What is recognized is never appropriated.<\/p>\n\n\n\n
The reference to Seeing the Light. Toward a Metaphysics of Cinema<\/em> by James Broughton situates the text within a field of reflection on vision, perception, and embodied experience.
The reading is not cited for its content, but for the regime it opens: a way of relating to the world grounded in attention and traversal.
The final phrase \u2014 \u201cSince a miracle never comes alone\u2026\u201d<\/em> \u2014 does not come from the book. It is added at the conclusion of the reading as a personal performative gesture. It promises nothing; it slightly displaces the state of the text.<\/p>\n\n\n\n
The narrations of June 2009 shift the register toward more everyday situations, yet they remain crossed by the same motifs: water, breath, disruption, and then the return to order. The bellhop, the sprinklers, the hair dryers: technical figures of flow, air, and circulation. Nothing is explained. Daylight arrives afterward.<\/p>\n\n\n\n
The journal entry of June 26, 2009 tightens the device further. A date. A time. Two sentences only.<\/p>\n\n\n\n
\u201cWe always pray to the ocean before entering it.\u201d<\/em>
This sentence belongs neither to religious ritual nor to symbolic discourse. It marks an attitude: respect toward a space that exceeds us.<\/p>\n\n\n\n
\u201cThis is starting well.\u201d<\/em>
An ambivalent formula, both banal and charged, suspending meaning at the very moment it seems to open it.<\/p>\n\n\n\n
The radio intensification functions as a temporal echo. A sentence spoken elsewhere, almost simultaneously, doubles the text without commenting on it. It is not a confirmation, but a surface coincidence, a friction between intimate writing and media flow.<\/p>\n\n\n\n
The subsequent event \u2014 the crash of Yemenia Flight IY626 \u2014 intervenes afterward. It offers no key, reveals no hidden meaning. It retroactively fixes a constellation already at work: ocean, crossing, breath, survival. The name Bahia Bakari introduces a concrete, human point of fixation to what had previously circulated as gestures, phrases, and images.<\/p>\n\n\n\n
This cinescriptograph functions neither as premonition nor as interpretation of reality. It renders legible, after the fact, a field of resonances between voice, water, breathing, and passage. What is deposited here announces nothing. It holds.<\/p>\n\n\n\n
Note<\/strong><\/h5>\n\n\n\n
This cinescriptograph brings together poems, dreams, personal notes, iconographic research, and narrative fragments recorded between August 2008 and June 2009, then reread a posteriori in light of the crash of Yemenia Flight IY626.
It establishes no causal, predictive, or intentional link between these elements and the tragic event that occurred later.
The glimpses are presented as situated traces, the narrations as explicitly designated imaginary constructions, and revelatory memory as a retrospective point of fixation.
This rereading highlights a circulation of motifs \u2014 birth, breath, water, crossing, bodies in motion \u2014 without proposing symbolic or explanatory interpretation.
This work does not aim to interpret or instrumentalize the tragic events it evokes.
It is written in respect of the deceased and their loved ones.<\/p>\n\n\n\n
\u2190 Back<\/a> \u00b7 \u21ba Contents<\/a> \u00b7 \u2192 Continue<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
Cin\u00e9scriptographe \u2014 Bahia (crash du vol Y\u00e9m\u00e9nia IY 626) Aper\u00e7us cin\u00e9scriptographiques (phrases-sources) (Ao\u00fbt 2008 \u2013 Juin 2009) \u2014 Po\u00eame envoy\u00e9 dans les commentaires \u00e0 l\u2019\u00e9mission All\u00f4 la plan\u00e8te, le 12 Ao\u00fbt 2008 : {Noeuds de Vous en na\u00eetre}[D’en \u00eatre \u00e0 vous deux tous (ou\u00efes)]-On ne dit que ce que l’on est ?-Ce qui na\u00eet de nous…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-718","page","type-page","status-publish","hentry"],"yoast_head":"\nCin\u00e9scriptographe de Bahia - Film par Image<\/title>\n<meta name=\"description\" content=\"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9scriptographe de Bahia - Film par Image\" \/>\n<meta property=\"og:description\" content=\"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/\" \/>\n<meta property=\"og:site_name\" content=\"Film par Image\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-13T17:12:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/filmparimage.com\/wp-content\/uploads\/image-3.png\" \/>\n\t<meta property=\"og:image:width\" content=\"410\" \/>\n\t<meta property=\"og:image:height\" content=\"599\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/\",\"name\":\"Cin\u00e9scriptographe de Bahia - Film par Image\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-3.png\",\"datePublished\":\"2026-01-29T18:41:07+00:00\",\"dateModified\":\"2026-02-13T17:12:18+00:00\",\"description\":\"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/#primaryimage\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-3.png\",\"contentUrl\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-3.png\",\"width\":410,\"height\":599},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-de-bahia\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/filmparimage.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cin\u00e9scriptographe de Bahia\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#website\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/\",\"name\":\"Film par Image - Legrand Sylvain\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#\\\/schema\\\/person\\\/547f34e67d715f096435a0797e067057\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/filmparimage.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#\\\/schema\\\/person\\\/547f34e67d715f096435a0797e067057\",\"name\":\"Legrand Sylvain\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"caption\":\"Legrand Sylvain\"},\"logo\":{\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\"},\"sameAs\":[\"http:\\\/\\\/filmparimage.com\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cin\u00e9scriptographe de Bahia - Film par Image","description":"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/","og_locale":"fr_FR","og_type":"article","og_title":"Cin\u00e9scriptographe de Bahia - Film par Image","og_description":"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.","og_url":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/","og_site_name":"Film par Image","article_modified_time":"2026-02-13T17:12:18+00:00","og_image":[{"width":410,"height":599,"url":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-3.png","type":"image\/png"}],"twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"10 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/","url":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/","name":"Cin\u00e9scriptographe de Bahia - Film par Image","isPartOf":{"@id":"https:\/\/filmparimage.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/#primaryimage"},"image":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/#primaryimage"},"thumbnailUrl":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-3.png","datePublished":"2026-01-29T18:41:07+00:00","dateModified":"2026-02-13T17:12:18+00:00","description":"Cin\u00e9scriptographe Crash Y\u00e9m\u00e9nia : inscription d\u2019un accident a\u00e9rien et de la survivance associ\u00e9e dans un dispositif d\u2019apercevoir et de r\u00e9sonance.","breadcrumb":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/#primaryimage","url":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-3.png","contentUrl":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-3.png","width":410,"height":599},{"@type":"BreadcrumbList","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-bahia\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/filmparimage.com\/"},{"@type":"ListItem","position":2,"name":"Cin\u00e9scriptographe de Bahia"}]},{"@type":"WebSite","@id":"https:\/\/filmparimage.com\/#website","url":"https:\/\/filmparimage.com\/","name":"Film par Image - Legrand Sylvain","description":"","publisher":{"@id":"https:\/\/filmparimage.com\/#\/schema\/person\/547f34e67d715f096435a0797e067057"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/filmparimage.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":["Person","Organization"],"@id":"https:\/\/filmparimage.com\/#\/schema\/person\/547f34e67d715f096435a0797e067057","name":"Legrand Sylvain","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","caption":"Legrand Sylvain"},"logo":{"@id":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g"},"sameAs":["http:\/\/filmparimage.com"]}]}},"_links":{"self":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/718","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/comments?post=718"}],"version-history":[{"count":6,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/718\/revisions"}],"predecessor-version":[{"id":743,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/718\/revisions\/743"}],"wp:attachment":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/media?parent=718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}